Written history may, in the course of its narrative, use some of the laws established by the various sciences, but its own task remains that of relating the essential sequence of historical action and, qua history, to tell what happened, not why.
The New Testament was not produced as a single work issued by an authoritative Church for the instruction of its members. The four Gospels were composed in different times and places over perhaps a third of a century, and for a time circulated separately among a number of other narratives of our Lord's life (of which the newly discovered fragment of an unknown gospel may have been one).
He managed to do this 'tour de force' of styles without ever breaking the narrative structure of the chapter he was writing. It is the most brilliant parody of writing styles that I have ever read.
The Da Vinci Code may well be the only novel ever written that begins with the word 'renowned'... I think what enabled the first word to tip me off that I was about to spend a number of hours in the company of one of the worst prose stylists in the history of literature was this. Putting curriculum vitae details into complex modifiers on proper names or definite descriptions is what you do in journalistic stories about deaths; you just don't do it in describing an event in a narrative... Why did I keep reading? Because London Heathrow is a long way from San Francisco International.
If a large number of people who are convinced alien abductions are real are hypnotising even larger numbers of others who suspect they might be, then it is likely there will be many alien abduction narratives flying around, as, indeed, there are. Of course, this is not proof they are not true, but it does provide a persuasive context for a simple psychosocial explanation. Hypnotism is a technique that triggers a mass storytelling project in which all the stories are linked.
The very admission of the need to harmonize is an admission that the burden of proof is on the narratives, not on those who doubt them. What harmonizing shows is that despite appearances, the texts still might be true.
If there be a mind that, not perceiving in the narratives we have compared the fingermarks of tradition, and hence the legendary character of these evangelical anecdotes, still leans to the historical interpretation, whether natural or supernatural; that mind must be alike ignorant of the true character both of legend and of history, of the natural and the supernatural.
It is wiser, I believe, to arrive at theory by way of evidence rather than the other way around.... It is more rewarding, in any case, to assemble the facts first and, in the process of arranging them in narrative form, to discover a theory or a historical generalization emerging of its own accord.
Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.
To know how to structure the joke perfectly so that the narrative information is given in the right tempo, in just the right dose - it sometimes takes quite a lot of work. It seems easy when you hear the joke.
The immersive stories of This Is Paradise are a lithe blend of formal invention and traditional narrative pleasures. As such they reflect Kristiana Kahakauwila's intimate but expansive vision of a Hawai'i forged from the collisions of past and present, here and there. Her protagonists are as richly distinctive as the pidgin they speak, and yet each struggles profoundly with identity-that negotiation between ourselves and the world, which is at once Hawaiian, American, universally and compellingly human.
[Science fiction is] that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesised on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin. It is distinguished from pure fantasy by its need to achieve verisimilitude and win the 'willing suspension of disbelief' through scientific plausibility.
My dad's a Pentecostal minister, meaning that he's full of charisma. If he's telling a story about Noah's ark, you best know each tiger is going to be having their own little conversation and narrative.
The narrative of so many fairy tales are timeless in so many different cultures, and they have been since the dawn of man. They represent escapism, but they all feature themes that have such poignancy in a modern world.
Dialogue in fiction should be reserved for the culminating moments and regarded as the spray into which the great wave of narrative breaks in curving towards the watcher on the shore.
I don't believe in doing thousands of cuts, then giving it to the editor to make the movie. 'Dump-truck directing' is my reference to that style of moviemaking. You have to know how to cut before you can shoot well. The lack of definition in movies today is appalling. Very few people know how to mount a narrative anymore. If a scene works in one cut, you don't need 10. Or it might need 10. Let's not make it 20.
The camera creates a magical transformation. It's not enough to exist; we must chronicle that existence. ... Narrative- and image-making creatures like humans don't feel any experience is complete unless it's recorded.
one of Mr. [Thomas] Hardy's ancestors must have married a weeping willow. There are pages and pages in his collected poems which are simply plain narratives in ballad form of how an unenjoyable time was had by all.
What suggests to non-Evangelical scholars that the resurrection narratives contain legendary accounts? First there is a variety of apparent contradictions in the stories which in any ancient narrative would have to arouse the historian's suspicion.
I've worked out of a series of no's. No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the yes. I have a white background. I have the person I'm interested in and the thing that happens between us.
It's a little like packing for a trip. First you lay out everything that might possibly be useful, with no thought about the size of your suitcase. Then, look at your suitcase. In the case of narrative, there's a certain obligation to keep the pace up and have each section or subsection be doing something.
I am not interested only in telling a story, but I want to tell it my way. I don't want my accent, my temperament, my narrative style to be compromised to fit into a mold of the Hollywood type.
I've always thought that one of the things that the Internet and the gaming world permits as a narrative technique is to not tell the story from beginning to end - to tell stories sideways, to give alternative possibilities that the reader can, in a way, choose between.
Free-form games in which the player can make choices about what the game is going to be, become a kind of gaming equivalent of the narrative possibility.
I fell in love with poetry through storytelling, so my poetry tends to be fairly narrative. I like characters, I like having a beginning, middle, and ending, though not necessarily in that order.
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